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8Nakatsuka Issan 中 塚 一 杉 (b. 1892)Flowering YamabukiShōwa Period (1926 – 89), circa 1930H 78 ¼" × W 82"(199 cm × 208 cm)Two-panel folding screenInk, colors and gofun on silkSignature: Issan saku 一 杉 作 »Made by Issan«Seal: Nakatsuka 中 塚As with the other screen by Issan in the presentcatalog, the previous entry entitled »MorningQuiet«, we see here a close observation of naturewithin an intimate garden setting.The artist presents the viewer with a scene fromspring, from a warm sunny day in the second halfof April. Dominating the scene over most of thepainted surface is a Japanese Yellow Rose (Yamabuki山 吹 Kerria japonica) which flowers in majesticbeauty by an old bamboo fence. Meanwhile to theright a white Japanese peony (Yama Shakuyaku山 芍 薬 Paeonia japonica) blooms and below it,through a crack in the fence, we see another whiteflowering plant. In the upper corners is a floweringmaple tree. Standing above the central Yamabukiis a tall cherry tree, now past its point of glory withits few remaining petals and many new leaves.On the bottom left from the ground the artist hasdepicted a winding ivy climbing up the brokenfence. In the middle of this maze of blossomsand leaves sits a solitary Lidth’s Jay (Ruri Kakesu瑠 璃 懸 巣 Garrulus lidthi), its blue feathers forminga focal point and contrast to the yellows andgreens of the painting.Much time, expertise and expense went into creatingthis work, and judging from its over-sized format, itwas most likely a shuppin-saku, made to be exhibitedat one of the major art exhibitions of the time. Inthe complex composition we see exquisite detailsin the fine lines on the flowers and bamboo fence,and in the raised moriage areas on the yellow rose,the peony flowers, and the cherry blossoms, whichwere created with gofun or seashell powder. Thebark of the cherry tree is especially remarkable forits three-dimensional feel and realistic moriage texture.The mounts are custom-made for the screen,using luxurious shibuichi 1 metal with a perforatedsukashi design of cherry petals.Issan studied under two of the greatest draftsmen inthe history of the modern Kyoto art world: TakeuchiSeihō 竹 内 栖 鳳 (1864 –1942) and Nishimura Goun西 村 五 雲 (1877 –1938). After his studies he settledin Kyoto as an independent artist and submitted regularlyto the important national exhibitions over thenext decades, the last being the Nitten in 1953. 2As with Issan’s other work »Morning Quiet«, wesee here a tension between youth and decay,between the vibrant yellow colors of the brilliantYamabuki on the one hand and the deteriorating,stained old bamboo fence on the other. The fallenpetals and wilting leaves on the ground also serveas a contrast to the blooming Yamabuki above.40 41